I turned on square, saw and triangle for both oscillators like I did on the Code 8
plus the sub-oscillator set it 27.8 to make that fat sawtooth sound. Both set to around 3.2. to 3.8 on the mixer.
Yes very low in volume, but this way the 12db filter does not saturate too much with the resonance up.

I have red noise routed to oscillator 1's linear FM, at 0.5.
And oscillator 2 has voice key number routed to its frequency,
by 0.02 and with an offset of -0.1 to get that loosing tracking all
discrete analog synths have. For a creamier sound

I then have a triangle LFO routed to the sample and hold, with sampled hold on,
and then routed this to the voice pan to get mimic the
Code8's individual voice pan function for nice stereo spreading, if a bit more random in nature

Still something was missing. That thick Code 8 juicy tone.
Cranking the filter feedback on to 33 did the trick I think!
Only thing is this causes the12db Band pass filter to self oscillate
when I switch to it later in the clip, but turning it off fixes that

I turned on square, saw and triangle for both oscillators like I did on the Code 8
plus the sub-oscillator set it 27.8 to make that fat sawtooth sound. Both set to around 3.2. to 3.8 on the mixer.
Yes very low in volume, but this way the 12db filter does not saturate too much with the resonance up.

I have red noise routed to oscillator 1's linear FM, at 0.5.
And oscillator 2 has voice key number routed to its frequency,
by 0.02 and with an offset of -0.1 to get that loosing tracking all
discrete analog synths have. For a creamier sound

I then have a triangle LFO routed to the sample and hold, with sampled hold on,
and then routed this to the voice pan to get mimic the
Code8's individual voice pan function for nice stereo spreading, if a bit more random in nature

Still something was missing. That thick Code 8 juicy tone.
Cranking the filter feedback on to 33 did the trick I think!
Only thing is this causes the12db Band pass filter to self oscillate
when I switch to it later in the clip, but turning it off fixes that

Patch using the Moog filter, but any of the other can be used, you just have to reduce the oscillator
levels to around 3+ for both when using the 12db filter with high resonance to reduce the saturation.
And remove the filter feedback when using the band pass filter to avoid self oscillation

I picked up a $50 Behringer CC300 analog chorus pedal recently
and it gives the A6 some of that Juno vibe
Just add a power adpater and you have a warm and rich stereo widening chorus cloned from the vintage Roland units for way cheaper - and quieter too!

First part uses the first button - lowest effect. 2nd and 3rd part uses first 2 buttons pressed at the same time, for a richer effect

I picked up a $50 Behringer CC300 analog chorus pedal recently
and it gives the A6 some of that Juno vibe
Just add a power adpater and you have a warm and rich stereo widening chorus cloned from the vintage Roland units for way cheaper - and quieter too!

Only downfall is that it clips pretty easily, so keep the input level in check.

edit - it's not quite as thick as the Juno chorus, after comparing them. Juno's chorus is a little stronger and thicker sounding in the lower mids. Some EQ boost there may help. But it doesn't take over the sound like the Juno chorus, and hiss as much

Thank you Colin, this is very inspirational. The SE Code emulation is stunning. You just saved me some cash. (I had intended to buy one eventually.)

Proof again of the ultra-flexible nature of the A6, and that there is still a lot of potential to tap into.

Not quite the same though - the Code 8 is one of the creamiest sounding synths I have ever played! But they do have quite similar overall tonal colour, ie more American sounding than say Roland. Even the Moog filters on both react and sound pretty similar and unlike a real Moog Minimoog filter. The Code 8 is thicker and more organic sounding on the raw oscillator level though, as expected with discrete parts and voice boards - although surprisingly clean and pristine sounding, a bit colourless sometimes...

A little comparison between the A6 and Jupiter 8, using similar filter settings, with 2 sawtooth waves, an octave apart.
I also mixed the A6's analog distortion at very low levels into the main output to add a bit of grit and "definition"

You can tell the A6 has a more Moog style 24db filter. JP8 is definitely very Roland sounding.....

I find that the feedback used in place of the actual filter resonance to be better than 24db filter resonance when used in series.
Used the 12db filter inline with the 24db to overdrive it, with and without feedback. Keep the ENV3 (Amp/VCA) level low under 80, I used 56 here, and the level knob on the far right under 80 as well. Gets rid of that harsh sound, especially as resonance is cranked up.

A6 doesn't have much head room compared to the discrete designs it was based on - even then when low levels are used, the noise isn't a problem, no worst than a JP8 for example, your just clipping it less

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